New venture the Children’s Touring
Partnership has astutely chosen as its opening production an adaptation
of Michelle Magorian’s million-plus-selling novel about an abused
London boy evacuated at the beginning of World War Two and billeted
with a Dorset widower who has socialisation issues of his own.
Magorian’s story has resonated with readers for 30 years, and adapter
David Wood was always guaranteed to catch the poignancy but focus
principally on the affirmative aspects. Angus Jackson’s fluent,
appealing production (which I saw at Chichester) is led by Oliver Ford
Davies, who is a natural as the rumbling but immensely good-hearted
Mister Tom. And yet, although I have not read the book, I cannot but
feel that translating it to the stage has unintentionally emphasised
its flimsier aspects.
The story
contains much grit: young William’s mother is a shrieking wreck who
thinks the Bible belt is what she uses to thrash scripture into her
son, and he suffers much both physically and psychologically at her
hands. But matters seem a little too black and white: in Robert Innes
Hopkins’ design, the main playing area is raised to reveal the family’s
London hovel, suggesting that his life there is literally chthonian.
The rural life, by contrast, is the kind of idyll that former Prime
Minister John Major once rhapsodised about, with its community spirit,
amateur dramatics, local kids who need only a single mild telling-off
to stop persecuting the evacuees and become fast friends with them and
so on. Magorian is careful to show the wartime suffering, with
fatalities taking their toll even on the village’s own population, but
in this swift staging they seem improbably easily borne. Even when
William’s best friend, precocious fellow evacuee Zach, is killed by a
bomb on a return trip to London, events are compressed so that it
apparently takes little more than donning Zach’s stripy jumper in order
to weather the loss.
The events
portrayed are from an era at least a generation before even the
earliest readers of the book, and which has entered our collective
mythology: to the perennial Edenic archetype of village life is added
the Blitz spirit, in both London and rural variants. We can quickly
discount the bruises of William’s and others’ wartime experiences
because they are transient marks on an idealised, fictitious body of
narrative.
Written for the Financial
Times.